Lionsgate's The Divergent Series: Insurgent took in $3.16 million on Monday to lead the daily box office for a fourth consecutive day. The second installment of the young adult series starring Shailene Woodley was down 72 percent from Sunday's performance. In comparison, last year's Divergent fell 70 percent on its first Monday to gross $3.58 million. Insurgent has grossed $55.42 million in four days, which is on the very low end of pre-release expectations. The film is running 5 percent behind the $58.19 million four-day start of Divergent (which didn't have the added advantage of higher priced 3D admissions that Insurgent has).

Cinderella placed in second with $2.49 million. Disney's blockbuster fairy tale adaptation fell 76 percent from Sunday and 48 percent from last Monday. Cinderella has clearly taken a bit of a hit from the arrival of Insurgent, but is highly likely to stabilize going forward thanks in part to strong word of mouth. The eleven-day total for Cinderella stands at an impressive $125.01 million. That places the film a slim 5.5 percent behind the $132.22 million eleven-day take of last year's Maleficent (which, unlike Cinderella, had the added advantage of higher priced 3D admissions).

Warner's Run All Night claimed third place with $0.488 million. The Liam Neeson led action thriller was down 65 percent from Sunday and down 44 percent from last Monday. Run All Night surpassed the $20 million mark yesterday and has grossed a modest $20.13 million in eleven days. The film is running 5 percent behind the $21.22 million eleven-day gross of last year's A Walk Among the Tombstones.

Fellow action thriller The Gunman followed closely behind in fourth with $0.453 million. The Sean Penn led film from Open Road declined 64 percent from Sunday. The Gunman has grossed just $5.48 million in four days. That is below the film's already modest expectations and is 54 percent softer than the $11.89 million four-day start of Run All Night at this point last week.

Fox's Kingsman: The Secret Service rounded out Monday's top five with $0.442 million. The Matthew Vaughn directed graphic novel adaptation starring Colin Firth was down 64 percent from Sunday and down a healthy 25 percent from last Monday. Kingsman continues to exceed expectations with a strong 39-day take of $115.04 million.

Do You Believe? took in $0.327 million on Monday to place in seventh. The faith-based drama from Pure Flix was down 69 percent from Sunday. That represented a solid daily hold given that as a faith-based film, the film's performance on Sunday was inflated a bit. Do You Believe? has grossed $3.92 million in four days, which is a bit below expectations.

THE NEW COMEDY FROM UNIVERSAL PICTURES' ARRIVES IN THEATRES ON MAY 15, 2015

WASHINGTON D.C. (March 24, 2015) - Elizabeth Banks, who makes her directorial debut with Universal Pictures' "Pitch Perfect 2," will receive the "CinemaCon® Breakthrough Filmmaker of the Year Award," it was announced today by Mitch Neuhauser, Managing Director of CinemaCon. CinemaCon, the official convention of The National Association of Theatre Owners (NATO), will be held April 20 - 23, 2015, at Caesars Palace in Las Vegas. Banks will be presented with this special honor at the "CinemaCon Big Screen Achievement Awards" ceremony that will take place on the evening of Thursday, April 23, at The Colosseum at Caesars Palace. The Coca-Cola Company, the official presenting sponsor of CinemaCon, will host the final night gala awards program.

"One of Hollywood's most versatile actresses and a force to be reckoned with behind the scenes at Brownstone Productions, Elizabeth Banks draws some of her cast's finest performances to date as she helms ‘Pitch Perfect 2," noted Neuhauser. "Elizabeth is already a well-deserving CinemaCon honoree for her talents as a performer, and we could not be more excited to honor her as the ‘CinemaCon Breakthrough Filmmaker of the Year' as she makes the transition behind the camera to direct her first feature.'"

This summer, Banks stars in "Love & Mercy" and will make an appearance in "Magic Mike XXL" and the indie film "Every Secret Thing." She will also reprise her role as Effie Trinket in the final installment of the The Hunger Games film series, "The Hunger Games: Mockingjay - Part 2." She recently wrapped production on the Netflix reprisal of the cult hit "Wet Hot American Summer." Behind the scenes Banks and her husband, Max Handelman, formed Brownstone Productions, which recently signed a production deal at Universal. Brownstone will produce the upcoming untitled HBO film in which Banks is set to star as tennis legend Billie Jean King opposite Paul Giamatti as Bobby Riggs in the now infamous Battle of the Sexes match. Brownstone's upcoming slate also includes two projects in development at Lionsgate, "White Girl Problems" and "Heist Society," as well as "Dirty Rush" at Tristar and "Tink," a Disney live-action romantic comedy in which Banks will star as Tinkerbell.

With a graduate degree from the American Conservatory Theater, Banks has graced the stage, as well as the small and big screen. On the big screen, she can be seen and heard in such diverse films as "The Lego Movie," "Pitch Perfect," "The Hunger Games," "What to Expect When You're Expecting," "People Like Us," "Our Idiot Brother," "W.," "Zack and Miri Make a Porno," "Seabiscuit" and "Catch Me if You Can," to name a few. On the small screen, Banks is a two-time Primetime Emmy Award nominee for Outstanding Guest Actress in a Comedy Series for her performance as Avery Jessup on "30 Rock." She has also appeared on "Modern Family" and in a recurring role on "Scrubs." Her extensive theater credits include many roles in American Conservatory Theater productions, as well as the Guthrie Theater's production of "Summer & Smoke." In 2006, Banks played Cherie, the female lead in William Inge's comedy "Bus Stop," as part of the Williamstown Theater Festival.

About CinemaCon

CinemaCon will attract upwards of 5,000 motion picture professionals from all facets of the industry -from exhibition and distribution, to the equipment and concession areas - all on hand to celebrate the movie-going experience and the cinema industry. From exclusive Hollywood product presentations highlighting a slate of upcoming films, to must-see premiere feature screenings, to the biggest stars, producers and directors, CinemaCon will help jumpstart the excitement and buzz that surrounds the summer season at the box office. CinemaCon is delighted to have both the International Cinema Technology Association (ICTA) and National Association of Concessionaires (NAC) as its tradeshow partners. CinemaCon is also delighted to have as its official presenting sponsor The Coca-Cola Company, one of the industry's greatest, highly regarded and respected partners in the world of the movies.

About NATO

The National Association of Theatre Owners (NATO) is the largest exhibition trade organization in the world, representing more than 32,000 movie screens in all 50 states, and additional cinemas in 81 countries worldwide. NATO's membership includes the largest cinema chains in the world and hundreds of independent theatre owners, too.

Additional information on CinemaCon can be found at www.cinemacon.com.

In 2012, Ang Lee transfixed critics and audiences alike with his use of 3D in Life of Pi. The film became a global success, grossing $611.7 million worldwide. The following year, Alfonso Cuarón found the same warm reception with Gravity --grossing $716.3 million globally. If there was a 2014 release poised to continue that streak, it would have been Christopher Nolan's Interstellar. Nolan, however, decided to emphasize his preference for analog formats with the Interstellar release --scrapping the idea of 3D altogether in favor of promoting advance 70mm and 35mm screenings. Interstellar still succeeded globally, registering a $664.2 million haul, but the response from audiences ($186.9M) and critics in North America was somewhat muted when compared to the director's previous efforts. Despite its relative success, Interstellar still felt like somewhat of a missed opportunity, leaving 2014 without a defining 3D film to capture an audience's imagination. That isn't to say 2014 was devoid of blockbusters released in 3D; the format helped launch Guardians of the Galaxy and The LEGO Movie into the blockbuster category.

"3D operates as a kind of derivative of the cinema business; good slates and bad slates, up years and down years," explains Chad Aaron, president and CFO of MasterImage 3D. "And yes, 2015 is looking like a great year, but look at the anchor films we have coming in the next five years with the Star Wars and Avatar sequels." MasterImage remains positive at the outlook for 3D going into the future, seeing a potential for the format as international exhibitors rush to meet consumer demand. While several other 3D companies have begun to diversify their tech offerings, MasterImage remains exclusively committed to 3D. "If you look at what exhibitors have been involved with over the past five years, you have to notice exhibitors are sick of spending money --they're interested in making money now," Aaron says.

Like its competitors, MasterImage has been busy addressing a common complaint from audiences: the brightness levels of 3D. Their Mi-Horizon3D system, announced in late 2013, zeroes in on the issue and has already found eager clients in the growing international marketplace. MEGABOX, one of the leading exhibitors in South Korea with more than 450 screens, adopted MasterImage's high-brightness 3D system last year.

Brightness isn't only a concern for manufacturers of 3D system. Screen manufacturer Harkness launched its new Clarus XC series at last year's CinemaCon, while Port Window Glass offers their anti-reflective Opticlear glass for projection booths. LightSpeed Design introduced its DepthQ CineBright solution last summer, a 3D light recycling product that is already available outside the U.S. thanks to the growing demand of international exhibitors for more 3D screens.

The international demand for 3D becomes obvious when considering the sheer number of offices RealD has opened overseas. RealD has a presence in over 26,000 auditoriums across 73 countries, with local offices in Moscow, London, Shanghai, Hong Kong, Tokyo, and Rio de Janeiro. China's booming exhibition market is central to RealD's strategy for the future; in 2014 RealD extended its agreement with Wanda Cinema to double the number of its auditoriums in the circuit over the next three years. As of November 2014, there are already more than 1,000 RealD screens being installed in Wanda Cinema locations across China. RealD also has deals in place with exhibitors in China and Russia to roll out their premium large-format brand, Luxe, in those markets. "It started recently," explains Anthony Marcoly, president of worldwide cinema for RealD. "They've sort of grown up with 3D, and that's really the way exhibition programs over there. When a movie is available in 3D, it gets programmed in about 95 percent of their cinemas that way, and that's how the audiences see the movie. As a 3D company, that's probably our most important territory right now, and the deal we just signed with Wanda confirms that."

RealD isn't the only company entering the premium large-format and luxury business. Dolby is entering the space themselves with Dolby Cinema, in which Dolby 3D will be a vital component of an offering that will include Christie laser projection, Dolby Vision, and Dolby Atmos. "As more 3D titles are released worldwide, our consistent relationships with filmmakers, studios, and exhibition allows Dolby to deliver premium cinematic experiences to consumers in Dolby 3D, Dolby Vision, and Dolby Atmos. Dolby has delivered some of the biggest Hollywood titles, such as The Hobbit: The Battle of the Five Armies and Guardians of the Galaxy, in Dolby 3D and Dolby Atmos," says Doug Darrow, senior vice president of cinema at Dolby Laboratories. "Our collaboration continues with members of the film industry to bring more Dolby 3D, Dolby Vision, and Dolby Atmos titles to the cinema. It is likely to be a big year for 3D releases, and our goal with Dolby Cinema is to provide filmmakers the technology solutions to most accurately represent their vision."

While 2014 lacked the defining critical and commercial 3D hit of years past, it did produce one of the most compelling releases since the format's renaissance, Jean-Luc Godard's Goodbye to Language 3D. Indie distributor Kino Lorber had difficulty finding enough screens to carry the acclaimed title from the iconic French New Wave auteur, despite the fact the film had been awarded the Jury Prize at the Cannes Film Festival and named the best film of the year by the National Society of Film Critics. The film's widest release in the U.S. only covered 7 locations, and it was still able to pocket $335K from its theatrical run. Goodbye to Language is a prime example of how all theaters, not just the multiplex, stand to gain from embracing 3D. The format is nothing new at the art house; documentaries like Pina from Wim Wenders and Werner Herzog's Cave of Forgotten Dreams come to mind. Top film festivals already recognize 3D's potential to further cross over into the art house; the Cannes and Venice Film Festivals count on XPAND 3D as a technology partner at their events.

"People had always thought of 3D as that sort of eye-popping stuff that comes at you. What filmmakers have found is that 3D enables a storytelling mode that can bring the audience into the movie itself and make it immersive," says RealD's Anthony Marcoly. The continued adoption of the format by filmmakers, along with international consumer demand, makes it clear that 3D is much more than simply a trend. The support of the creative community is central to 3D's success, and the ensuing box office results are simply a byproduct of that endorsement. Meanwhile, as 3D technology improves, so will the consumer's experience. The future for 3D looks bright indeed.

Lionsgate's The Divergent Series: Insurgent led the box office this weekend with a first place debut of $52.26 million. The second installment of the young adult series starring Shailene Woodley debuted on the low end of its pre-release expectations. Insurgent opened 4 percent below the $54.61 million start of last year's Divergent. However, it should be noted that Insurgent had the added advantage of higher priced 3D admissions, while Divergent did not. With that said, Insurgent was still off to a very solid start of its own this weekend. It should also be noted that the film's overseas start was significantly stronger than that of Divergent.

Insurgent opened with $21.15 million on Friday (which included an estimated $4.1 million from evening shows on Thursday), fell 7 percent on Saturday to gross $19.69 million and declined 42 percent on Sunday to gross $11.43 million. That places the film's opening weekend to Friday ratio at 2.47 to 1. In comparison, Divergent had a ratio of 2.40 to 1. Insurgent having a slightly more back-loaded opening weekend performance than Divergent had could be a good sign for Insurgent going forward, though it could also be a sign of the film's initial audience being less fan-driven this time around.

The audience breakdown for The Divergent Series: Insurgent skewed towards female moviegoers (60 percent) and towards moviegoers under the age of 25 (55 percent). The film received a healthy A- rating on CinemaScore.

Cinderella placed in second this weekend with a strong $34.97 million. Disney's blockbuster fairy tale adaptation was down 48 percent from last weekend's debut. That represented a respectable second weekend hold, especially when considering the direct competition the film faced from Insurgent and that Cinderella lost most of its IMAX screens to Insurgent as well. Cinderella zoomed past the $100 million domestic mark this weekend and has grossed $122.52 million in ten days. That places the film a slim 4 percent behind the $128.18 million ten-day start of last year's Maleficent (which declined 51 percent in its second weekend to gross $34.33 million). Maleficent went on to stabilize very nicely later on in its run, and Cinderella will have a strong chance of doing the same, especially given the limited amount of new options for family audiences in April.

With Insurgent and Cinderella currently dominating the box office, the rest of the weekend's line-up made very little noise. It was an especially close race for third, with action thrillers Run All Night and The Gunman separated by an extremely slim $3,621 for the frame.

Warner's Run All Night finished in third place with $5.032 million. The Liam Neeson led action thriller was down 54 percent from last weekend, which represented a typical second weekend decline for a Neeson vehicle. Run All Night has grossed $19.64 million in ten days. That is a bit below expectations and places the film 6 percent behind the $20.83 million ten-day take of last year's A Walk Among the Tombstones (which fell 67 percent in its second weekend to gross $4.19 million).

Open Road's The Gunman debuted in fourth place with $5.029 million. The Sean Penn led action thriller opened a bit below its already modest pre-release expectations. Online activity for the film had been especially soft in the weeks leading up to its release and the film arriving so soon after Run All Night certainly didn't help matters either. The Gunman opened a significant 54 percent softer than the already soft $11.01 million start of Run All Night last weekend.

The Gunman started out with $1.77 million on Friday, increased 13 percent on Saturday to gross $1.99 million and declined 37 percent on Sunday to take in $1.26 million. That gave the film an opening weekend to Friday ratio of 2.84 to 1. The Gunman received a lackluster B- rating on CinemaScore and should fade away from theatres quickly.

Fox's Kingsman: The Secret Service rounded out the weekend's top five with $4.63 million. The Matthew Vaughn directed graphic novel adaptation starring Colin Firth was down just 26 percent from last weekend, as the film continues to hold up very nicely. The 38-day total for Kingsman stands at a stronger than expected $114.59 million.

Do You Believe? arrived in sixth place with $3.59 million. The faith-based drama from Pure Flix opened a bit below expectations and failed to approach the $9.22 million start of last year's God's Not Dead, though it wasn't widely expected to do so. Do You Believe? grossed $1.21 million on Friday, increased a slim 9 percent on Saturday to gross $1.32 million and decreased just 20 percent on Sunday to gross $1.06 million. That placed the film's opening weekend to Friday ratio at 2.96 to 1. Do You Believe? will hope to hold up well going forward, thanks in part to the approaching Easter holiday.

On the platform front, It Follows continued its solid performance with $344,874 from 32 locations. That gave the critically acclaimed horror thriller from RADiUS-TWC a per-location average of $10,777 for the frame. It Follows has grossed $568,901 through ten days of platform release. Based on its performance thus far and on the strong critical buzz surrounding the film, It Follows is scheduled to expand into semi-wide release next weekend.

Monday Morning Update: This past week Facebook had a huge crackdown on spammers and fake accounts, something which saw many of the biggest Facebook properties take massive tumbles. Furious 7 fell almost 2 million likes, Ted 2 lost 800k while Minions tumbled 700k likes. Now all of those affected by the spam-removal still have oodles and oodles of legitimate likes so its not like they are hurting, but still it was good to see Facebook playing an active role in weeding out false followers, something with Twitter has a very hard time with.

In the midst of all this Paper Towns snatched the weekly lead for like increases as it rose by almost 250k new likes thanks largely because of its first trailer. The film is one of the most anticipated adaptations of the year with a lot of expectations after author John Green's last adaptation The Fault In Our Stars was one of the most discussed and indeed profitable films of 2014. Fault actually rose only 200k tweets in the week after its first trailer which is a good sign here, though it had a lot more likes prior to the first trailer also (it had 501k total likes a week after its first trailer). Paper Towns does have a long long way to go to match Fault in pre-release buzz though as its predecessor reached a gaudy 8 million total likes before it opened last June.

Pixels debuted its first trailer last week as well and reaped the benefits as it popped up on many people's radars for the first time, seeing almost a 500% jump. Adam Sandler's last film Blended didn't see a 100k like increase for any of its trailers and had only 274k likes before it was released. Strong signs for Pixels which might be more Grown Ups than Blended which is a very good sign for its potential. I mean really, if Tyrion Lannister with a laser cannon and a mullet doesn't spell box office gold I don't know what does!

Unfriended made it three weeks in a row that it had a 100k+ like increase, bringing its total to just under 800k. 1 million and more likes by its release is all but assured now as is its success (in my eyes at least). Home is surprisingly ahead of Get Hard amongst next week's openers (Get Hard has only 162k likes), and while I'm not sure they will finish in that order when the receipts are tallied almost 300k for a net new original animated film is pretty solid. Get Hard lags far behind the 700k Ride Along had prior to its release and when paired with its mediocre Twitter numbers and reviews looks like its going to not be an added highlight to Ferrell and Hart's bios.

Facebook Top 5 Movies by Like Increase for the last week Ending Sunday March 22nd